Two common misconceptions concerning the use of the photographic lens is that the resulting photographic plane is expected to tell the truth, while simultaneously it is expected to deceive. I proceed to immediately announce this dialectic to the viewer, reassuring that the scene depicted is indeed, a construction, a false reality, a work of fiction. In exposing the theatrical nature of the constructed tableaux, I intend to transfer qualms concerning deception from the realm of distraction, to that of the arbitrary. Through fiction, I aim to reveal contemporary sociological truths. Accepting identifying factors as a millennial black artist, referencing the historical African struggle to be an act counterintuitive to my practice. My experience as a black male has been characterized by gated communities and private college preparatory schools. Cultural appropriation, isolation, and xenophobia serve as defining factors in my story, and have prompted acute observation and resulting assimilations. Characters depicted in my images are those whom have been the victim of societal othering. The scenarios they find themselves in are representative of what these networks could precipitate towards or dilute down to. Coaxing forms and subjects of the real behind the ground-glass of the large format camera into alignment with premeditated drafts of the scenario pierces the veil of modern image manipulation. While the image is constructed, the subjects and the scene depicted were traced by light, and remain uninterrupted by the banes of digital capture. Collectively, my body of work is intended to stand as a series of questions which would inevitably be effected by a viewers personal inhibitions if proposed in a spoken dialogue.